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20th Century Fox via Everett Collection
50 years ago today -- March 2, 1965 -- The Sound of Music hit theaters in the United States. In honor of the iconic film's anniversary, we take a look behind the scenes of one of our favorite movies to share some things you may not have known.
1. While singing "I Have Confidence," Julie Andrews accidentally tripped in the Von Trapp courtyard.
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Director Robert Wise felt it added a much needed nervousness to the song and the character, so he decided to use it in the film.
2. Julie Andrews sang "Supercalifragilisticexpialidocious" to the Von Trapp children between filming.
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Since Mary Poppins hadn't been released yet, the kids all thought she made it up just for them.
3. Maria never uses the Captain's first name, Georg.
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She calls him only Captain, Sir, or Darling.
4. Christopher Plummer traveled to the Salzburg mountains to meet Captain's nephew and learn more about the character.
Since very little information was available about Captain Von Trapp for Plummer, he and his interpreter met with Captain's nephew to learn a bit about him. The nephew described the real man as the most boring man he'd ever met.
5. The day after the von Trapp family escaped Austria, Hitler ordered the borders shut.
6. They also took a train station to Italy and safety; they didn't hike over a mountain.
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Salzburg is much closer to Austria's border with Germany, and neither Italy nor Switzerland are within walking distance.
7. If they had hiked over a mountain, they'd find themselves near Hitler's mountain retreat in Germany.
8. Charmian Carr (Liesl) has admitted she was attracted to Christopher Plummer, who played her father.
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Despite the 13 year age difference, Plummer admits that the feeling was mutual. He insists it never evolved beyond flirtation.
9. Director Robert Wise didn't get along with the real Maria von Trapp when she came to the set.
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He called her "bossy."
10. In the original play, ideological differences drive the Captain and the Baroness apart.
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She wouldn't stand up to the Nazis, and he refused to compromise with them.
11. Grace Kelly had been considered for the part of the Baroness, but was a bit too busy, you know, being a princess.
12. The gazebo scene with Maria and the Captain was made a silhouette to hide the uncontrollable laughter of Julie Andrews.
20th Century Fox via Everett Collection
According to Andrews, a lighting device kept making a certain "raspberry" noise every time she leaned in to kiss Plummer. After more than 20 takes, the scene was changed to a silhouette to make her laughter less noticeable.
13. The real Von Trapp children weren't pleased with how stern their father was portrayed.
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Maria Von Trapp had asked Wise to soften the character a bit, but the director refused.
14. Kurt's high note in "So Long, Farewell" is actually sung by Liesl's real life younger sister.
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The note was out of Duane Chase's range, so Charmian Carr's sister, Darlene, sang it instead.
15. Mia Farrow auditioned for the role of Liesl.
Liza Minnelli and Sharon Tate were also among those who tested for the part.
16. Christopher Plummer admits he was drunk when they filmed the music festival sequence.
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17. The movie is one of only four films to win both the Tony Award for Best Musical/Play and the Oscar for Best Picture.
The others are My Fair Lady, A Man For All Seasons, and Amadeus.
18. Charmian Carr (Liesl) danced through "Sixteen Going On Seventeen" on an injured ankle.
During the first take of this scene, Carr slipped while leaping from a bench and fell through glass. She wasn't badly hurt, but her ankle was injured and needed to be wrapped for the scene.
19. Even though nobody had seen how she would perform on screen yet, Julie Andrews was always director Robert Wise's first choice.
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20. Yet she almost turned down the part, fearing it was too similar to Mary Poppins.
21. The actress who played Marta, Debbie Turner, kept losing teeth during filming.
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They had to be replaced with false teeth.
22. The children kept growing during filming, so lots of heel lifts and camera tricks were needed for height continuity.
Louisa (Heather Menzies-Urich) started production three inches taller than Friedrich (Nicholas Hammond); he had to wear lifts. By the end of filming, he'd grown six inches. Liesl (Charmian Carr) had to stand on a box while Friedrich didn't wear shoes to help keep their heights consistent.
23. Nicholas Hammond had to endure a bunch of painful bleachings to turn brown hair blond for the film.
24. Christopher Plummer disliked filming so very much that he referred to the movie as "The Sound of Mucus."
25. Kurt Russell, Richard Dreyfuss, and Veronica Cartwright were among those who auditioned for roles as von Trapp children.
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As did the four oldest Osmond brothers: Alan, Jay, Merrill, and Wayne.
26. The gazebo's interior scenes were shot in Los Angeles.
The inside of the actual gazebo was too small to accommodate the dance numbers.
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27. The gazebo can still be seen in Salzburg, but only from the outside.
Visitors were too frequently attempting to dance along the benches and injuring themselves, so the interior is now off limits.
28. Julie Andrews learned to play guitar specifically for this role.
29. Christopher Plummer also learned to play guitar for the role...but his playing was dubbed.
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30. Christopher Plummer asked for "Edelweiss" to be replaced.
He thought the song was trite and "schmaltzy" and asked for it to be written out. Screenwriter Ernest Lehman refused.
31. There was nobody at the altar to officiate the wedding during filming because someone forgot to wake the actor.
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32. Julie Andrews has also claimed that the actual bishop of Salzburg can be spotted in the wedding scene.
33. It's not really Kym Karath (Gretl) on Captain's shoulders in the final shot as they climb the mountains to safety.
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Karath had gained a bit of weight while filming in Austria, and evidently Christopher Plummer found her too heavy to carry on his back. He requested a stunt double.
34. Which is funny, since Plummer's weight gain required his costumes to be refitted for his extra mass.
He admitted he ate and drank in Austria in order to better cope with the unhappiness he felt from filming.
35. The movie features a rare onscreen performance by famed ghost singer Marni Nixon.
She played Sister Sophia. Nixon, who had previously done the vocals for Natalie Wood in West Side Story, Deborah Kerr in The King and I, and Audrey Hepburn in My Fair Lady. Since Julie Andrews played Eliza Doolittle in the Broadway version but was passed over in favor of Hepburn for the film, producers were nervous to learn how she would react to Nixon's casting. Andrews approached her and exclaimed, "Marni, I'm a fan of you!"
36. Christopher Plummer has said working with Julie Andrews is like "being hit over the head with a big Valentine's Day card."
37. Julie Andrews kept getting knocked over from the helicopter's wind.
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Though that iconic spin looks warm and sunny, Andrews only remembers how cold she was as she repeatedly ran across the mountain with the ferocious winds of the chopper above. She tried digging her feet into the ground without luck.
38. Director Robert Wise climbed a nearby tree in order to film that first musical number; he wanted to be able to watch the helicopter filming without getting in the shot himself.
39. Sean Connery and Richard Burton were both considered to play Captain.
40. The real Maria von Trapp makes a cameo.
In the "I Have Confidence" scene, as Julie Andrews walks beneath a brick archway, the real Maria can be seen behind her, dressed as a peasant.
41. Heinrich Himmler, famed Nazi, took over the von Trapp house after they escaped. Adolf Hitler visited him there more than once.
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42. Kym Karath (Gretl) couldn't swim, so Julie Andrews was responsible for catching her when they fall out of the boat and into the water.
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On the second take, the boat tipped in a way that sent Andrews flying one way and Karath falling out the other side. Heather Menzies-Urich (Louisa) was tasked with saving her instead, which Andrews was haunted by.
43. Subsequently, Karath threw up all over Menzies-Urich after swallowing too much water.
44. The cast had to be continually hosed down in order to maintain a soaking wet look after falling into the water.
45. Liesl may have been 16 going on 17, but she was actually older than Rolfe.
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Charmian Carr was 22 at the time she sang that song; Daniel Truhitte, who played Rolfe, is ten months younger than she is. Now who's older and wiser?
46. Shirley Jones, Anne Bancroft, and Doris Day were all considered for the part of Maria.
47. Robert Wise initially turned down the opportunity to direct the picture.
Stanley Donen, Vincent Donohue, Gene Kelly, and George Roy Hill were also approached and said no.
48. Mary Martin, wife of the producer of the original Broadway show and the first woman to play Maria made nearly $8,000,000 from the film.
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While Julie Andrews earned just $225,000.
49. According to British tabloid The Sun, it's one of the films chosen to show after a nuclear strike to improve morale.
Though this is unconfirmed by the BBC who declared it a security issue.
50. Peggy Wood (Mother Abbess) had a hard time lip-syncing along to "Climb Ev'ry Mountain."
She struggled to perfectly match the first word of the song, so director Robert Wise had her face away from camera when she began singing. When she looked at camera, she had caught up with the song enough to perfectly pass. The effect of her staring out the window in the beginning added a mystical element to the song and fit in better than originally planned.

Splash News
Stars including J.K. Rowling, Geri Halliwell, Laurence Fox, and Richard E. Grant are celebrating after Scotland voted to reject independence from the U.K.
Scots went to the polls on Thursday (18Sep14) for a ballot on whether to break away from the rest of Britain to become a self-governing nation. More than 55 per cent of voters chose to stay in the union, defeating the independence bid, and celebrities who had previously voiced their support for a 'No' vote took to Twitter.com on Friday (19Sep14) to share their delight after the result was announced.
Harry Potter author Rowling writes, "Been up all night watching Scotland make history. A huge turnout, a peaceful democratic process: we should be proud", Gosford Park star Fox writes, "Morning Scotland. Love you very much", and singer/songwriter Billy Bragg adds, "Referendum result: a new constitutional settlement for U.K. Big thank you to people of Scotland for putting devo (devolution) for England on the agenda."
Former Spice Girls star Halliwell writes, "Thank you Scotland - together we are Great Britain. X", actor Grant tweets, "Huge relief that we continue to be the United Kingdom", and True Blood star Robert Kazinsky adds, "Thank you Scotland, would be sad if one of (my) favorite places on earth was no longer part of my home. Back to the highlands I can go!"
Many of those who supported the 'Yes' campaign are trying to take some positives from the result - actor Alan Cumming writes, "Yes still means something. Please try to remember that. My YES friends", and Simon Pegg adds, "Feel sad for those who campaigned hard for a yes vote. Hopefully some meaningful change will come of this. It was by no means a landslide."
Other stars tweeting their surprise at how the campaign galvanised Scots into voting include Duran Duran singer Simon Le Bon, Muse frontman Matt Bellamy, and Harry Potter actor Matthew Lewis. However, one celebrity was left red-faced by the election result - Fast &amp; Furious actress Michelle Rodriguez thought the country had voted for independence, tweeting, "And the Scot's vote... Was a Yes!!!"

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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NBC
Community made its triumphant return last night with two new back-to-back episodes. Relive the double-header with our 15 favorite quotes!
On what's really important.Jeff: "Look, I might be broke, desperate, and nearly homeless, but I still got one thing deep down inside that gives me power — *repo man takes his whiskey away* — yep, that was it. That was all I had."
On important emotional and safety upkeep.Dean: "After you and your friends left, it was closed for sentimental reasons. And asbestos reasons."
On Donald Glover's imminent departure.Abed: "A repiloting can be intense. New people show up, regulars shift roles or even fall away. Season 9 of Scrubs, Zach Braff was only in the first six episodes."Troy: "Son of a bitch! After everything Scrubs did for him?"
On throwing blame around, willy nilly.Britta: "That's like me blaming owls for how bad I suck at analogies."
On missing minor characters.Troy: "You guys feel weird about doing this without ... Magnitude?"
On not even being worth a Winger speech.Jeff: "No monologue for you. Give me your tie."
On any excuse for a good Troy cry.Troy: "I'm much sadder than the rest of you. I will figure out why later."
On Nicholas Cage.Abed: "But is he good or is he bad? Every actor is something. Robert Downey Jr, good. Jim Belushi, bad. Van Damme, the good kind of bad. Johnny Depp, the bad kind of good."
On, oh snap, your over-achieving girlfriend is here to whip you into shape.Chang: "Awwwww, she in yo class, yo!"
On I knew it!Buzz: "Teachers don't have to explain minuses. Why do you think we invented them?"
On confusing threats and Greendale assignments.Jeff: "What the hell? He gave you a dead rat?"Annie: "No! This is my witness intimidation project."
On getting into character.Abed, as Nicholas Cage: "I'm a cat. I'm a sexy cat."
On losing your religion.Shirley: "Well, if you're looking for something to believe in, I know a skinny little Hebrew handyman you can meet."
On having Jonathan Banks in the cast.Buzz: "I'm taste-testing rations for the shelter I'm digging."Troy: "Are you the coolest person in the world?"Buzz: "I doubt it."
And finally, on the Dean's musical French-lady inner-monologue."I'm lonely because he's not learning Excel.I'm dying because he's not learnng Excel.Like the sailors who smoke cigarettes on the canalBut Excel won't be learned todayMy thoughts...are French."
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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Welcome back to another round of live performances on The X Factor. After giving four acts their walking papers last week, the contestants have now been dwindled down to an even dozen — bringing them one step closer to their very own Pepsi contract and the chance at a music career of a lifetime. No reason to be nervous though, right?
But wait! Tonight’s episode held a special twist. Looking back on last week’s results show, the judges felt they sent one contestant home prematurely and have decided to re-induct someone back into the competition. “We believe we made a mistake with one act,” Simon mysteriously reveals. So who did they choose to save? It’s none other than Miss Diamond White! And just like, the Top 12 become the Top Lucky Number 13!
Of course, one can’t help but experience a certain sense of déjà vu. If you recall, Melanie Amaro went through a very similar experience last year where she was eliminated and then brought back during the live shows (and eventually won the competition entirely). If this pattern continues, then does that mean we’ve already found our Season 2 winner?
But before we start making any hasty predictions, let’s take a look at how the Top 12 13 fared under the judges’ scrutiny…
Theme of the Week: Songs From the Movies
Arin Ray (Teens — Team Britney Spears): In keeping with this week’s “Movies” theme, Arin kicked things off by singing “American Boy” featured in the movie Obsessed. It turned out to be quite the appropriate song choice, since that’s exactly what this guy is becoming. Unlike last week, Arin focused more on his vocals rather than excessive amounts of Chris Brown-like choreography, making not only made his performance stronger, but more memorable as well. This is the type of song he should be singing all the time! Plus, you gotta admit this guy looks real good on a motorcycle. The judges loved everything about it, as they should. But it wouldn’t be The X Factor without some incredibly awkward moment to showcase, so Khloe made sure to pipe in with a very suggestive (and possibly illegal) remark: “Well, you can definitely be my American boy.” And cue the sexual harassment lawsuit.
Paige Thomas (Young Adults — Team Demi Lovato): Next up was Paige, singing “Take My Breath Away,” featured in Top Gun. And her incredibly elaborate set really did take our breath away. (She descended from the ceiling, for crying out loud!) It was a beautiful performance and proved once again how strong her vocals can be. However, Simon found it all to be a little too excessive. “Demi, I don’t think you could have put any more on that stage,” he remarked. In other words, Simon thinks she should go for a “less is more” approach that would focus more on the talent and less on the theatrics. Makes sense, right? You’d think. But since the judges are completely biased of their own teams, Demi completely disagreed with his advice and took none of it to heart. Let’s place nice, children!
Vino Alan (Over 25 — Team L.A. Reid): Vino opted to sing the classic “When A Man Loves A Woman” (properly featured in the film When A Man Loves A Woman), which really helped play to his strengths: soul singing! This guy may look rough and tough with all those tattoos, but, man, can he carry a heartfelt tune. And the judges seemed to agree. Simon remarked that he went from “zero to hero” in the span of one week. (Does anyone else wish he had picked that Hercules song now or is it just me?) Either way, it was great. Let’s hope America decides to keep this guy around for a while.
Emblem3 (Groups — Team Simon Cowell): These hotties gave us yet another reason to swoon by belting out a strong mash-up of “My Girl” and “California Girls” (featured in the 1991 hit My Girl and Katy Perry’s 2012 flick Katy Perry: Part of Me). Normally, you wouldn’t think a combination like this would work, but of course the all-knowing Simon knew better. Plus, it doesn’t hurt that these guys really know how to work a crowd of ladies (aka the majority of all X Factor fans). Even L.A. called their performance “perfect.” One Direction and The Wanted better look out because they’re about to have some serious competition on their hands. Naturally, Demi and Simon started bickering immediately afterward, but it’s just not the same without Steve Jones there to blatantly cut everyone off.
Beatrice Miller (Teens — Team Britney Spears): Beatrice decided to tackle “Iris,” featured in City of Angels, all while wearing what looks like every item found in a Hot Topic store. Regardless, she makes it work. Normally, I’m not really for the whole “raspy voice” type of thing, but it actually sounds really good with her. You can totally see this girl selling records and she’s only 13! (Sorry, I just can’t get over it.) The judges agree that they can really see her becoming a star. Let’s hope America feels the same way.
Jennel Garcia (Young Adults — Team Demi Lovato): Singing “I Love Rock ‘N Roll” (featured in both Wayne’s World 2 and Crossroads), Jennel made an attempt at channeling her inner Joan Jett, but it resulted in mixed reviews. L.A. thought it lacked “originality” and “inventiveness” since it was complete Joan Jett mimicry. Simon was more discouraged about her makeover than anything else. He feels she’s changed from who she really is: a sweet, charming, fun girl. But Demi countered, saying that the crowd is going crazy for her. (Though, to be fair, they go crazy for pretty much everyone, so that’s a hard point to argue.) Oh, and Britney liked it, so I guess that’s helpful.
Tate Stevens (Over 25 — Team L.A. Reid): Tate took on the challenging role of replicating Bon Jovi’s “Wanted Dead or Alive,” featured in Harley Davidson and the Marlboro Man (proving that everyone pretty much has free reign with these theme weeks). He’s got a great country voice, but it was just a poor song choice, in my opinion. (But I’m probably just biased because no one can perform this song better than Mr. Bon Jovi in my eyes.) The judges, however, don’t seem to share my feelings on the matter and absolutely loved his performance and think he has what it takes to be a superstar.
Lyric 145 (Groups — Team Simon Cowell): In a unique twist, this group performed the Mary Poppins classic "Supercalifragilisticexpialidocious.” Ordinarily I’d call this an odd song choice, but due to this group’s eccentric personality and style, it turned out to be pretty perfect (they were even able to pronounce the song title in reverse, which is impressive in and of itself). Granted, it’s not really something I’d go out and buy, but that’s just my own personal preference. The judges gave them nothing but praise and the audience’s cheers spoke volumes.
Next: Diamond makes her grand debut (again).
Diamond White (Teens — Team Britney Spears): As a way to commemorate her return to the competition, Diamond appropriately sang “I Have Nothing,” featured in the hit film The Bodyguard. It was a great song choice, a great wardrobe choice (I don’t care if it’s after Labor Day, this girl knows how to pull off a white ensemble), and she sounded absolutely amazing. Basically, Diamond proved why she deserves to be back in this competition and we couldn’t be happier that she is. Her name alone sounds like superstar potential.
CeCe Frey (Young Adults — Team Demi Lovato): Demi has a knack for surrounding her acts with so many theatrics that it’s difficult to get a firm grasp of their actual vocal talents. It’s almost like the extravagant sets are being used as distractions rather than a way to showcase their talents. CeCe’s performance was no different. She sang Rocky’s famous theme song, “Eye of the Tiger” and while the set seemed larger than life, it completely overshadowed her vocals. I appreciate a good spectacle just as much as the next music buff, but sometimes less really is more.
Carly Rose Sonenclar (Teens — Team Britney Spears): Next up was Carly who sang “It Will Rain,” featured in The Twilight Saga: Breaking Dawn – Part 1. This is exactly the type of thing Demi needs to start doing with some of her singers — strip down all the other gimmicks and the song to its very core, and focus on the singing. It was so simple, yet grand all at the same time. An absolutely gorgeous performance that was just as mesmerizing as Edward Cullen’s brooding face (and that’s really saying something). The judges loved it; the audience loved it; I loved it. Please, let’s keep this girl around.
Jason Brock (Over 25 — Team L.A. Reid): Jason took on R. Kelly’s song “I Believe I Can Fly,” which was featured in Space Jam. (Man, that brings me back.) It was definitely an improvement from last week’s rather risqué performance, but he has yet to truly win over the judges’ hearts. Britney said it felt like a Vegas lounge act, while Demi referred to it as being both predictable and cabaret. Overall, things aren’t looking too good for our dear Jason. I have a feeling that this performance could very well be his last.
Fifth Harmony (Groups — Team Simon Cowell): After going through their third name change (they originally were LYLAS and then 1432), Fifth Harmony closed out the show with a beautiful rendition of “A Thousand Years,” featured in The Twilight Saga: Breaking Dawn – Part 1. And apparently third time’s the charm. This was probably my favorite performance of the night. Their harmonizing was spectacular; the song choice was superb — it was a perfect way to end the night. Usually the groups don’t hold out very long in shows like this, but they’re proving to be a strong force to be reckoned with this season. It’s amazing what can happen when you have Simon on your side!
Now it’s up to you, America! Who do you think deserves to stay another week and who should be shown the door? If this election week has proven anything, it’s that votes really can make a difference. Your favorites need your support now more than ever. Sound off on your thoughts in the comments below and be sure to tune in Thursday night to find out the results!
Follow Kelly on Twitter @KellyBean0415
[Photo credit: Ray Mickshaw/FOX (2)]
More:
The X Factor Recap: Behold...The Top 12
The X Factor Recap: It's A-Live Show!
The X Factor Recap: Who Lived? Who Died?
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Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
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